Curtin University

Lost and Found: The Ongoing Journey of Stolen Generation Artwork

A poignant discovery in Western Australia – a 77-year-old artwork by 12-year-old Claude Kelly, a member of the Stolen Generation – has reignited attention on the scattered legacy of children’s art created at the Carrolup Native Mission School. Found tucked away in a trunk at the Corrigin Historical Society, this piece is just one fragment of a larger story: hundreds of artworks created by Indigenous children forcibly removed from their families, and their subsequent journeys across the globe.

A History of Displacement and Rediscovery

The Carrolup Native Mission School, near Katanning, operated from 1905 to 1963. During the 1940s, the school became a surprising hub for artistic expression. Children, despite the trauma of forced removal, were encouraged to draw, using whatever materials were available. These drawings, often depicting scenes of daily life, family, and the Australian landscape, became a powerful, unintended record of a painful period in history.

However, the story doesn’t end with creation. In 1949, English visitor Florence Rutter collected hundreds of these artworks, intending to exhibit and sell them in London. Later, American Herbert Mayer amassed a collection of 127 pieces, which remained hidden in storage at Colgate University in New York until 2004. The Mayer collection was repatriated to Australia in 2013 and is now held at the John Curtin Gallery in Perth.

The recent rediscovery at Corrigin underscores how widely dispersed these artworks became. “We never displayed the picture, and it has sat, undisturbed, in an old trunk for most of the last 25 years or so,” explains Steve Brown-Smith, curator at the Corrigin Historical Society. This highlights a common issue: many institutions simply weren’t aware of the significance of these pieces, or lacked the resources to properly research and preserve them.

The Importance of Attribution and Cultural Connection

The return of these artworks isn’t simply about reclaiming objects; it’s about reconnecting families with their history and acknowledging the experiences of the Stolen Generations. Patricia Ryder, senior Carrolup adviser at the John Curtin Gallery, emphasizes the importance of attribution. “This could be some tangible evidence of their family connections that they may not have any more info on.”

Ryder also stresses the need to interpret the art through the lens of the children who created it. “It’s important to look at the artworks through what those children would have experienced at the time, not from where we are now.” This requires a shift in perspective, acknowledging the trauma and resilience embedded within each drawing.

Did you know? The materials used to create the Carrolup artworks were often rudimentary – simple paper and whatever pigments were available – contributing to their fragility and the need for careful conservation.

Challenges in Preservation and Ongoing Research

Preserving these artworks presents unique challenges. Lisa Liebetrau, Carrolup collections officer, notes the fragile condition of many pieces. “The works being made after the Second World War and also on a mission school where the government and the education department were not providing materials of good quality, so the works were made with whatever was available.” Insect damage, dust, and the inherent instability of the materials require specialized conservation techniques.

The search for remaining artworks continues, with efforts focused both in Australia and internationally. A 2022 exhibition in the United Kingdom aimed to locate pieces potentially held in private collections and galleries. While complete repatriation may not be possible, the goal is to identify and document as many artworks as possible, and to connect them with their rightful owners.

Future Trends: Digital Archiving and Collaborative Research

The ongoing efforts to locate, preserve, and understand the Carrolup artworks are pointing towards several key trends in cultural heritage management:

• Digital Archiving: Creating high-resolution digital scans of the artworks is crucial for preservation and accessibility. This allows researchers and families to study the pieces without risking damage to the originals. Initiatives like the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) are leading the way in digital archiving of Indigenous cultural materials.
• Collaborative Research: Successful repatriation and interpretation require close collaboration between museums, Indigenous communities, and researchers. This ensures that cultural protocols are respected and that the stories behind the artworks are accurately told.
• Provenance Research: Tracing the history of ownership (provenance) of the artworks is essential for understanding their journey and identifying potential claims for repatriation. This often involves painstaking detective work, examining historical records and contacting collectors.
• Increased Focus on Stolen Generation Histories: The renewed attention on the Carrolup artworks reflects a broader societal reckoning with the legacy of the Stolen Generations. This is driving increased funding for research, preservation, and reconciliation initiatives.

Pro Tip: If you suspect you may have a Carrolup artwork in your possession, contact the John Curtin Gallery or AIATSIS for guidance on identification and potential repatriation.

FAQ

Q: What was the Carrolup Native Mission School?
A: It was a mission school in Western Australia that operated from 1905 to 1963, where Indigenous children forcibly removed from their families were educated.

Q: How many Carrolup artworks are known to exist?
A: Approximately 300 artworks have been identified, but it’s believed many more remain undiscovered.

Q: What is being done to preserve the artworks?
A: Paper conservators are working to restore damaged pieces, and digital archiving is underway to ensure long-term preservation.

Q: Can I view the Carrolup artworks?
A: The Herbert Mayer collection is held at the John Curtin Gallery in Perth. Digital images of many artworks are also available online.

The story of the Carrolup artworks is a powerful reminder of the resilience of Indigenous culture and the importance of acknowledging the past. As the search for these lost treasures continues, each rediscovered piece offers a glimpse into a hidden history and a step towards healing and reconciliation.

Want to learn more? Explore the resources available at the John Curtin Gallery website and consider supporting organizations dedicated to Indigenous cultural heritage.